Prodigious Gloat

As promised in my last post, here's a quick tutorial on how I did the skin tones on Prodigious Gloat, the ogre player for my human Blood Bowl team, the Synnetowne Abbey Manglers.

This is a simplified and customized (and less skillfully and less stunningly executed) version of the method found here. You want a trip? Scroll down to the comments to see how John Effin Blanche answered my question about Winsor & Newton inks!

I've altered the above procedure for a ruddier, more flushed result, but the same basic method can be applied to any variety of wacky color schemes with good results.

The first step is to mix up a base tone. For this I used a mix of about 1:1:1:8 (or so) Primary Red:Cadmium Yellow: Dark Chocolate Brown: White. The key to a good base coat is to make sure that it's pale enough. This can be really hard to judge...I almost always end up worrying that I've added to much white, but it's never the case.

You can see the base coat on the top half of Gloat in the picture above. The legs and feet are already on step two, which is a general wash of diluted W&N inks in a mixture of 1:1 Crimson Red:Peat Brown (this mixture is designed to represent the areas on the skin where the blood is visible, which is useful to keep in mind when designing less conventional schemes. The contrast of hue that it adds really makes the effect work.) If you do not use inks, you can make a passable wash by diluting your desired acrylic color with water and matte medium (Liquitex matte medium is a nice value brand available at craft stores), though you might have to apply a couple more coats to achieve the same vibrancy.

A final note on W&N inks: these suckers do not 'set.' If you go over them with wet paint, they will bleed and run. This can be a real pain if you aren't expecting it, but it is also something of a boon for blending if you know that it's going to happen. It basically allows for easy as pie wet blending, which makes for a really nice effect for all kinds of things.

Once the wash has dried, go back in and reapply the original base coat as the first highlight. You should notice the red/brown mixture seeping in a little from the recesses.

Now simply begin highlighting while increasing the proportion of white, and keeping the mix thin with water and matte medium. I tend to work on a wet-palette, which means I can keep a pool of my base color next to a pool of white and gradually form a gradient between them. That way if I need to go back and fix something, I can easily return to taking paint from a darker portion of the gradient.

After that, it's basically just a matter of continuing to highlight until you think the overall tone is light enough. Above you can see I'm probably on my second or third highlight. (I work quick with more dramatic steps than most; blending is not my forte.)

Once I'm nearly satisfied with the highlights, but before the final layer, I go back with a very dilute red ink and glaze over the boils, lips, nose, and nipples. After that dries, I go ahead with the final highlight, bringing everything into balance.

I called it done at this point because the Gloat looked plenty flushed and sweaty; however for a more pale/sickly/eerie effect I will often go in and apply a very faint glaze of blue mixed with brown to the raised areas. The idea there is to have the fleshy or fatty areas contrast with the reddish bloody areas. In this scheme, that means contrasting warm and cool colors, though it could easily be the reverse when painting something a little more...imaginative.

Let me know what you think, or if you have any questions, by building up your query in delicate layers in the comments box, just down there.

A Dwarf and His Hammer

The dwarves of yore made mighty spells,

While hammers fell like ringing bells,

In places deep, where dark things sleep,

In hollow halls beneath the fells.

--Over the Misty Mountains Cold, J.R.R. Tolkien

For some reason, that particular verse of that particular poem was echoing on loop while I painted this figure. I love that internal rhyme.

Anyway, here's one of those converted dwarf warriors all painted up. Above is a good example of the puddle effect I am developing for bases. Still needs work, but I'm getting there. You can also see the rudimentary non-metallic metal I tried to employ, especially on the shield below.

NMM is a tricky technique to get used to because it takes a lot of careful thought and a lot of patience with the blending...and honestly, I wasn't willing to take too much time on these particular figures. So I used paint that was a little thicker than it should have been and made transitions that were a little too abrupt. The result doesn't really look like metal, but it does have some contrast so I'm content.

I also need to work on brush direction. This is a basic principle that I always forget to follow, but it is one of the easiest ways to improve one's blending. Simply remember to draw the brush in the direction of the gradient of increasing pigment intensity (e.g. towards the brightest spot on a highlight.) The brush will naturally leave less paint at the beginning of the stroke than at the end. That way, one makes transitions rather than blocks of lighter color (which are instantly recognizable by the lines of their boundary--see the cloak highlight above.)

But that's why it can be nice to just churn out figures sometimes. It gives you ample mistakes from which to learn.

I'm sorry if this post was a little boring and obvious for some readers (among whom I know there are some excellent and experienced painters) but writing these things down helps me remember the things I need to work on.

Thanks for reading! Please share any tips you might find invaluable by painstakingly painting them into the comment box below.

A Couple Painted Baddies

Sticking with the "A Couple" string of posts, here are "A Couple" of bad guys from my Christmas acquisitions. These were the first figures I had painted since my Orc Blood Bowl team, so my hand was a little shaky. I worked quickly, focusing on having fun and experimenting rather than agonizing over every little detail.

These figures mark a lot of "firsts" for me. They are the first true fantasy dedicated figures I've painted since I was 15. They are also the first figures to go in a warband for Song of Blades and Heroes or Skulldred. So sentimental value, for sure.

More interestingly, these were the first figures which I tried basing on washers, the first where I tried puddle effects on the bases, and the first where I tried superglue instead of PVA to adhere the sand. They were also the first figures on which I tried using Liquitex matte medium for blending, and the first figures on which I tried Non-Metallic Metal and Object Source Lighting techniques.

So these are very important figures for me. Even if they don't look that good.

What's fun is tracking the improvement across the two pieces. I painted the skeleton on the left first, and you can see how sloppy the OSL is compared to the hand on the Sorcerer. Likewise, the NMM is pretty odd looking on the skeleton, partly because I was working from a midnight blue base, and partly because I did not take enough time in the blending details. The NMM on the Sorcerer has a more believable color, but does not look very metallic. Which I'm fine with. I think it conveys a nice, grubby metal.

I am really liking the washer bases. The low profile with the black rim really appeals to me. I need to work on the puddle effect, though. The idea here is to make a blanche-style soggy base with puddles reflecting a luridly colored sky. It did not work at all on the skeleton because I tried it as an afterthought, on top of the sand. It worked much better for the sorcerer because I left blank spots on the washer when I glued on the texture (gel formula super glue is perfect for this kind of control). I still need to work on the illusion of depth, though.

Finally, while I had the paints out, I figured I'd whip out a measuring stick for SoBH/ Skulldred. (If you aren't familiar with these systems, they both deal with movement in fixed increments, rather than measurements.) So I cut down a length of sprue and painted bands for short, medium, and long movement. Since Skulldred uses base-widths rather than the odd increments of millimeters in SoBH, I decided to just go with that. I don't understand why SoBH is different, but I don't think it will break the game and this way I only have to paint one.

Look out for more painted figs, and maybe someday even a batrep. Any tips, criticisms, advice, questions, &c are always welcome. Just drop a card in the box below: